Something I was adamant about was that the movie [Everybody Lovess Somebody] wouldn't end with, oh, marriage saved [the main character]. They're married and she's OK. I was very pushing on having the ending be that she made an inner growth of healing so that she can then have the ability and the space to love and be loved by someone else, and that love is open-ended and doesn't mean they're going to get married tomorrow and all her problems are solved.

I feel that the power that storytelling has to change people, to bring them together, to have that cathartic sort of experience, is something that definitely has helped my life be worthwhile and better.

I also really pay attention to whether the script embodies a full female character or if they're just wanting a two-dimensional objectified woman. So I also have that aspect to take care of as well.

I think, especially with this show [How to Get Away with Murder], we have Viola Davis and Pete Nowalk as the showrunner.

I should have asked for credit - but he has no idea how amazing it is that a character that was written as a boy can be equally written for a girl. It's like you said, just write a character as if it were a man, and then turn it and make it into a woman. It's like, we're human beings, after all.

When we see society telling women that they have a certain time, that they make women compete with each other, the older generation competing with the younger generation. They've made us believe that there's not enough men out there for us or that we're only hired because of our looks and not because of our abilities.

In the movie [Everybody Loves Somebody], the sister tells my character, "No, don't you want to be with someone?" I think the family - especially in this movie - they know that the reason that Clara doesn't want to have an emotional, intimate relationship is more because she was hurt so badly from heartbreak that she's then being closed off and cynical.